Reflections

“This album represents the culmination of a meaningful relationship between three musicians. Composing and navigating this music together has allowed us to develop a deeper understanding of each other’s individual artistic intentions... We have cultivated a body of original repertoire, a reflection of our collective identity.” – Reid Kennedy, Reflections 
 

“I consider myself very lucky to be a part of a project with Chris and Graydon,” said drummer Reid Kennedy, “and there is no way the music would have turned out the way it did without their dedication and abilities.” Considering the way the music on Reflections turned out, it is clear that Kennedy enlisted the perfect bandmates for his recording debut. 

Ried Kennedy©Andrea Canter

Collaborators Chris Lomheim and Graydon Peterson have enjoyed extensive exposure throughout the Twin Cities and beyond. The elder statesmen of the trio, pianist Lomheim studied both organ and piano throughout childhood and emerged in the 1980s as an R&B artist with such bands as Big John Dickerson. But jazz won out, as Lomheim anchored the acclaimed Illicit Sextet in the 1990s and built his reputation as both composer and performer with regular appearances at the Dakota and beyond. He’s released two highly regarded recordings of his own and appears around the Twin Cities with a long list of vocalists and small ensembles, including his own trio. Another fast rising star on the local scene, bassist Graydon Peterson completed jazz studies at the University of Wisconsin–Eau Claire. He, too, is a first-call for many area vocalists, and has performed regularly with the Mary Louise Knutson Trio and more recently with Snowblind. 

Chris Lomheim©Andrea Canter

Reflections 

A bold debut strategy, Reflections includes all-original material, four compositions each from Reid Kennedy and Graydon Peterson. And although he did not compose any of the pieces, Chris Lomheim’s signature is firmly embossed on every track. For those accustomed to Chris’s acoustic piano, one surprise on this recording is his facility on Fender Rhodes on two tracks. 

What might be more surprising is the lyrical and harmonic elegance of compositions from such young writers, more akin to the softer sides of Jarrett and Corea than the rock-infused and modal wanderings of their contemporaries. As such, the music is very accessible and almost familiar, hinting at the influences underlying each composer’s muses and inner journeys. Kennedy’s background in piano and classical percussion is particularly evident. The melodies are singable, memorable, and ripe for improvisations that fill in details rather than rewriting the story. Each musician contributes to the conversation without interrupting the artistic flow but, rather, pushing it gently forward. 

Graydon Peterson©Andrea Canter

Kennedy’s “Under the Parking Lot Moon” is the first introduction to Chris Lomheim’s songful Fender Rhodes. Hearing this track, one has to hope that Chris will do more with the Rhodes in live performance. The lyrical, lingering sustains create an elegance not often heard on this instrument and provide a majestic foil for Peterson’s bass solo. Kennedy (using brushes?) maintains a steady stream of gentle sound effects, while Lomheim executes some of his most exquisite phrases of the set, his articulation clean and agile. The final notes simply float away. 

Kennedy gives “A Country Drive” a perfect title, as the memorable tune meanders along with the simplicity and relaxed attitude of a back country lane, in no hurry to get to a destination but enjoying every turn along the way. The composition and its execution suggest Keith Jarrett, Lynne Arriale, and locally, Laura Caviani, with hints of blues and country. Everyone’s patience pays off—a steady counterpoint from Peterson, staggering punctuations from Kennedy, a slowly increasing degree of complexity in Lomheim’s harmonies and shifting rhythms. The Fender Rhodes sings aboard Peterson’s “Zephyr.” The opening bass vamp launches a mirror image from Lomheim, while Kennedy’s clicking support adds essential depth. Peterson’s bouncy solo gets ample support from Kennedy’s cymbals and rim hits and Lomheim’s well placed chords. 

The final three tracks are arguably the most interesting. Kennedy’s “The Lucky Award” flows sweetly, a similar feel to “A Country Drive,” Lomheim spinning filigree thread for his colleagues to weave. “Jazz Braces” by Graydon Peterson brings an upshift in energy with stops and starts before fully underway, with Lomheim leading the charge with some of his most ambitious playing. Peterson’s finale is indeed a “Light Waltz” that conjures Bill Carrothers’ most accessible work with some wide-ranging chords, a very gentle touch on the keyboard, and phrases that recall Ravel and Debussy. A summary of the set as a whole, it is a beautiful, engaging “reflection” of three collegial spirits.  

The release of Reflections was celebrated on January 13th in Reid Kennedy’s home town of Winona. A Twin Cities release party is forthcoming. Visit www.reidkennedy.com for updates, CD purchase information and gig schedule. 
 

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